text is a tough way to do audio — ⇧ SHIFT — ⌃ CONTROL — ⌥ OPTION — ⌘ COMMAND
Are You Listening? Episodes 4 and 5: Limiting in Mastering:
Episode 5, part 2 of “Limiting in Mastering,” explores the role of limiting in mastering with concrete examples to help guide you through the process of setting up, implementing, and adjusting limiters in your next project.
In music theory, the term minor scale refers to three scale patterns — the natural minor scale (or Aeolian mode), the harmonic minor scale, and the melodic minor scale (ascending or descending)[1] — rather than just one as with the major scale.
I was listening to a podcast yesterday. There were two speakers, both claim to have been classically-trained with degrees in music theory and/or music performance.
Neither of them could “speak” the difference between the “minor” scales
You’ll know it when you hear it.
Roman numeral analysis — Wikipedia:
In music, Roman numeral analysis uses Roman numerals to represent chords. The Roman numerals (I, II, III, IV, …) denote scale degrees (first, second, third, fourth, …); used to represent a chord, they denote the root note on which the chord is built. For instance, III denotes the third degree of a scale or the chord built on it. Generally, uppercase Roman numerals (such as I, IV, V) represent major chords while lowercase Roman numerals (such as i, iv, v) represent minor chords (see Major and Minor below for alternative notations); elsewhere, upper-case Roman numerals are used for all chords.[2] In Western classical music in the 2000s, Roman numeral analysis is used by music students and music theorists to analyze the harmony of a song or piece.
A great place to find notation conventions. NNS gives me such grief…
Do You Need A Subwoofer to Mix Music?:
An experienced engineer can track, mix, and master records with very little—a few plug-ins, good converters, and yes, even a pair of headphones. Listen to an episode of The Mastering Show featuring Glenn Schick, an engineer who mastered J Cole’s KOD on a pair of headphones and a mobile rig.
But there is also the sense of wanting more gear, and to this I can attest: in recent years, I’ve expanded my mastering practice, working on projects for artists like Leland Sundries, Morphous, Pete Mancini, and others. Before I made the choice to get a sub, it was always more of a guessing game when it came to low-end. Relentless checks on cars, headphones, the consumer hi-fi, and more were required before sending out the final product.
Which led me to the question of the day: do you need a subwoofer?
After all, many great, inexpensive monitors extend to the lower frequencies. Focal, Avantone, and others have models that go down to 35 Hz and below. Headphones from Sennheiser, Audio-Technica, and Audeze easily reach down that low—some go even lower.
So what can a subwoofer get you that headphones cannot?
Genre in Mastering, Part 3: Workflows:
In this three-part blog series about the role of genre in mastering, we’re exploring the question, “How much does genre determine what happens in mastering?”